SISTERS IN ARMS

Theatrical essay about WWI

“Sister in Arms “is based on the author`s belief that history is a kaleidoscope made of individual destinies and personal truths and that the theatre has the power to narrate history directly through a joint ritual by the audience and the performers. It`s purpose is to heal, and in this case to attempt to unmask the war phenomenon in all its complexity. The principal subject-matter is World War One in the Balkans. Through the eyes of active participants – Sofija Jovanović, from Belgrade, fighter and heroine of the Balkan wars, doctor Jessie Scott, from New Zealand, the first female military surgeon who attended to Serbian soldiers and many others – we see the war from a different and more personal angle, the angle of a woman-creator, in the hotbed of destruction and death. The stories in the production, which the authors collected after a long research, cover also the stories of Maori fighters in the Balkans and testimonies of ANZAC (Australian and New Zealand Army Corps) and Serbian soldiers who took part in the war. This international cooperation includes a number of original songs composed for the piece, that are performed live on stage, physical theatre and dance. Text, dramaturgy and direction:Sanja Krsmanović TasićMusic:Jugoslav HadžićPerformers: Jugoslav Hadžić, Sanja Krsmanović Tasić, Jessica Latton, Rhys Latton and Anastasia TasićMusician: Demir Ahmetović, Tenzin Mullin, Sam AtkinsThe production uses texts by Antonije Đurić, Rebecca West,and text written by the cast.Photography: Allen Dove and Jelena Janković

“In BITEF Theatre the performance “Sisters in Arms” directed by Sanja Krsmanovic Tasic was performed, and left a strong impression of an unusual, unique approach to a research project. Actors from New Zealand and Belgrade told us the intervened story about World War One through documentarism and personal histories. The historical moment in Serbia is brought to life by the character of Sofija Jovanovic played by her own great granddaughter. In a most spontaneous way fatal stories about women and customs, and all is condensed in the last scene of endnotes, where the audience asks questions and gets answers of the performers.”

“Theatre has always the power to be a dialogue with the dead… A plea for witnessing truth,” says Sanja Krsmanović Tasić, director of Hleb Teatar in Belgrade, Serbia.

This uplifting sense of mission animates Sisters in Arms, the stirring new work of Hleb (Bread) Teatar and its New Zealand collaborator, Ake Ake Theatre Company. Kudos to Creative NZ WW1 Centenary Fund for recognising the worth of supporting this memorable partnership.(…)

Both women, Sanja Krsmanović Tasić and Jessica Latton, believe true history lies in the fate of the individual; that the horror of war must be set against personal stories of real bravery and generosity. The stories that Sisters in Arms unfolds through thrilling physical theatre, accompanied by live music, exemplify this high courage.(…)

Little boats carrying lit candles are towed across the stage to represent the soldiers sailing to war. An ironic repetition of pinning on medals underlines the cruel absurdity of the ceremony. I am enraptured by the way the body of a wounded soldier is carried by each member of the company in turn, transferring the weight, constantly reinventing achingly beautiful ways for bodies to support bodies.(…)

This is transcendent theatre that goes a long way towards the stated aim of helping people understand people, of stopping the circles of war and violence that keep repeating. The audience is enthusiastic in its applause. My mother, a blur of ethereal silver hair in the dark beside me (a dancer herself, who claims she trod grapes in Serbia in the 1930s), says emphatically, “This is significant. To take something as terrible as war and create something so moving, that is significant.”

“Every culture has its own unique history, shaped by monumental events. In Sisters in Arms, the individual is given permission to speak their own and their family’s history. Surprisingly, for two such vastly different cultures, the stories have many similarities.

This gives permission, not just to the actors but also the audience, to explore their own history, realizing that each is as important and as valid as the other. This is a fundamental strength of this work. It is a profound realization that different cultures, and the characters within these cultural groups, can experience the same event in remarkably similar ways, despite being at opposite ends of the globe and, in this case, hundreds of years old (Serbia) and very recent (NZ).

The cast are very physical and every story is represented by carefully choreographed movement with live music providing a haunting accompaniment to the stories which are both spoken and sung. The props are simple yet each is imbued with great meaning.

A highlight of Sisters in Arms is the inclusion of ‘End Notes’, a list that appears on the screen at the play’s conclusion with all the concepts explored in the work. The audience are then asked to choose five items that the players then offer discourse on. Examples are ‘Genetic Memory’, ‘Mihi’ and ‘Anzac’. This is a fitting end to a thought-provoking show and serves to give more flesh to the meaning and experiences behind these concepts.”

“Aptly sub-titled, the production was all well-timed movement, including some amazingly stylish acrobatics and physicality. The versatile cast of six gave striking performances in multiple roles.

Rhys Latton’s strength and athleticism were commanding attributes. As well as acting, Jugoslav Hadzić led the atmospheric accompaniment on piano accordion, while diminutive, feisty Anastasia Tasić’ full, earthy voice also led on vocals, along with Jessica Latton, (Ngati Porou, Waitaha) who played the medical lead roles.

Tall, blonde Sanja Krsmanović Tasić was an anchoring presence in this impressive team.

At the end the cast invited the packed audience to choose from a list of 20 end-notes they’d like better explained, which helped connect more dots.”